The BFI exists to celebrate all poets of world cinema, of the past and present.

I want to tell stories which require something of an audience, by way of thought, argument, emotion, because I'm more often in an audience than I am a maker of films, and that's the kind of movie I want to see.

I have always believed that there is a need for life-affirming films.

The feeling of not belonging, of not being entirely worthy, of being sometimes hostage to your own sensibilities. Those things speak to me very personally.

My grandmother was a huge influence on me and the fact that there was this very strong, rather formidable presence of women in my life has been an enormous value.

I looked around and we were about a mile-and-a-half from land, and I thought, 'OK, I'm going to drown now.' And then I started to flail out and panic. I gradually calmed down and I got home. But the reality was that in that moment I was panicking and I feel like that to me was the clue about Ripley, that Ripley constantly finds himself out of his depth in the film and then reacts very, very badly.

The only lesson to extract from any civil war is that it's pointless and futile and ugly, and that there is nothing glamorous or heroic about it. There are heroes, but the causes are never heroic.